hange and contradict himself, but we never see him express himself with absolute sincerity”11. The different perception of Lugones’ poetry can be explained by the changes within Spanish society that shaped people’s understanding of poetry throughout the twentieth century. According to Manuel Pedro Gonzalez, those poets who directly succeeded Leopoldo Lugones greatly admired the poet’s excessive language and powerful verse12, but later generations of Spanish poets failed to rightfully perceive Lugones’ innovations, although they also borrowed some elements of his poetry. In view of such contradictory criticism on the issue of Spanish modernismo, the following analysis makes an attempt to solve this controversy and demonstrate a considerable impact of Ruben Dario and Leopoldo Lugones on Spanish-American poetry of the twentieth century. 4 Research methodology The research utilises two theoretical research methods – a qualitative method and a discourse analytical approach. These methods provide an opportunity to investigate the issue of Spanish modernismo through various perspectives. The qualitative method is applied to the research to observe different views on the discussed issue, while the discourse analytical approach is aimed at analyzing cultural and social contexts that contributed much to the formation of modernismo in Latin-America. The discourse analytical approach explains the reasons for regarding Spanish modernismo as a revolution in Spanish-American poetry and the qualitative method interprets literary works of modernista poets. According to Ricoeur, “interpretation… is the work of thought which consists in deciphering the hidden meaning in the apparent meaning, in unfolding the levels of meaning implied in the literal meaning”13. As appropriate methods for investigation, the qualitative method and the discourse analytical approach demonstrate Spanish poetic traditions and the ways modernismo implemented new poetic forms. 5 Discussion 5.1. Background In the sixteenth and seventeenth centuries Spanish-American poetry experienced its prosperity due to the occurred historical and political events. However, gradually the poetry of Latin America exhausted its potentialities and reflected only illusionary visions of reality. At the end of the nineteenth century Spanish-American poetry almost completely rejected the poetic traditions of Romanticism, because it was impossible to adhere to these traditions in view of quick changes in values and modernization of life in many places of Latin America. As Octavio Paz rightfully points out, “Modernity is our style for a century. It’s the universal style. To want to be modern seems crazy: we are condemned to be modern, since we are prohibited from the past and the future”14. It was in that period when some Latin American cities began to inherit European ideals on culture, science and art. As Kirkpatrick puts it, “New immigration, varying degrees of industrialization, and labor-oriented social movements changed the maps of Spanish American cities in the early twentieth century”15. Thus, Spanish-American poets began to gradually reject the romantic representation of reality, instead revealing their interest in certain objects such as the female body and machines. Leopoldo Lugones was one of the first poets that applied to these themes in some of his poetic works, like Las montañas del oro. Overall, modernista poets demonstrated great obsession with the principles of modernity and made constant attempts to increase the role of a poet in Spanish society. They withdrew from their participation in political affairs, instead transforming writing into a profession. In view of various innovations modernismo was aimed at creating a novel reality and styles of expression. According to Gordon Brotherston, the modernista poets, such as Ruben Dario, Manuel Machado, Leopoldo Lugones, rejected the material obsession that emerged as a result of industrial and scientific achievements, instead revealing true moral and cultural values16. As Paz puts it, “it has been said that modernismo was an evasion of the American reality. It would be truer to say that it was a flight from the local present reality… in search of a universal reality, the only true reality”17. Spanish modernista poets reveal an idealistic treatment of poetry, paying a particular attention to the innovations of poetic forms and themes. The values of these poets appeared in contrast with the existing social norms and were reflected in their poetry. Modernismo represented a real revolution in Spanish-American poetry, because it was aimed at destroying the isolation of Latin America and at creating a novel discourse that could uncover the concealed truth about social and political situation of the country. However, the spread of modernismo was different in various part of Latin America. In particular, in Buenos Aires and Santiago of Chile, the South regions, modernismo was developed in a fast way, while in the area of Hispanic Carribean the process was considerably slow. In general, modernista poets were in search of the ways to create a language that would reflect social and spiritual discourse, making them closer to European poets. In this regard, the language of modernista poets is ambiguous. Applying to the qualitative approach it is possible to reveal this ambiguity, because this method provides an >

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French receptions and is described by incongruity and new measurement structure. The lyric The Cicadas from The Book of the Landscapes is had a place with one of the most modernista ballads of Leopoldo Lugones; applying to day by day pictures, the writer depicts them through amusing vision. Nonetheless, extraordinary compared to other modernista graceful accumulations of Leopoldo Lugones is absolutely Los crepúsculos del jardín (1905), where the writer strengthens sexual and sensual components. In this gathering Lugones uses numerous modernista structures and images, however he likewise certainly scrutinizes modernismo’s detail. As Lugones always explores different avenues regarding his verse, he actualizes new components taken from various artistic developments and traditional abstract sources; hence he figures out how to watch both solid and feeble sides of modernismo. Embellishment shows up the chief device of articulation in Los crepúsculos del jardín; as Kirkpatrick puts it, Lugones “misrepresents certain subjects by broadening their advancement excessively far, or brings up specific strategies by expressly remarking on their utilization inside the lyrics themselves”39. In this way, the writer makes not one swan in his ballads, yet a few swans; depicting the picture of a lady, he doesn’t confine himself to certain highlights, rather he portrays each part of her appearance, even the shade of her garments. Despite the fact that Leopoldo Lugones starts the second rush of modernismo in Latin America, he moves from it in his later idyllic works, since he feels that he has just looked into this new zone and keeps on trying different things with other abstract trends40. Using all modernista components in his Los crepúculos del jardín, he starts to ponder the prototype components of Jules’ Laforgue’s ballads. Nonetheless, Lugones’ later withdrawal from modernismo does not limit his essential job in the arrangement of modernismo. As Kirkpatrick legitimately asserts, “Despite the fact that Ruben Dario is the undisputed ace of the development, numerous later writers have discovered the complex, once in a while alarming, wonderful examinations of Leopoldo Lugones to flag openings for a restored idyllic practice”41. The truth of the matter is that Lugones’ steady changes of structures and styles, fierce sensuality and the depiction of regular life stood out of numerous Spanish-American artists. Pressures and equivocalness that are somewhat found in progress of other modernista artists are significantly increased in Lugones’ poetry42. 5.4. The Legacy of Modernismo Ruben Dario and Leopoldo Lugones as the significant supporters of the development of Spanish modernismo left an extensive heritage to different writers who started to use modernista components of Lugones and Dario in their lovely works. A portion of these artists are Ramón López Velarde, César Vallejo, Jorge Luis Borges, Octavio Paz, Alfonsina Storni, Julio Herrera y Reissig, Federico Garcis Lorca, Pablo Neruda and Vicente Huidobro. Their verse is described by expressiveness and opportunity, flawlessness of language and search of new structures, great inferences and new topics, effortlessness of punctuation and musicality of words, free refrain and amazing visual pictures. For example, in his graceful works Ramón López Velarde pursues Leopoldo Lugones, joining the components of sensuality with different dull components. Other modernista writers additionally use trite segments in their verse, including Baldomero Fernández Moreno and Enrique Banchs. These artists verifiably apply to Lugones’ technique to make alternate extremes; be that as it may, they vary from Lugones, utilizing basic informal language. Moreover, the tone of their ballads is calm rather than unnecessary and misrepresented tone of Lugones. Julio Herrera y Reissig, another modernista writer, incredibly takes after Lugones in his portrayal of sexuality and>

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Dario is more keen on words than in the communicated importance. Dario’s graceful language procures power and imagery; he shines a different light on straightforward words and structures his one of a kind expository vocabulary that mirrors the soul of Hellenism and Versailles. Applying to different wonderful investigations, Dario expands the measure of metrical structures, either changing old style frames or making new ones. Dario’s first scholarly work Azul (1888) uncovers musicality and sexiness of his pieces. It was a genuine break in Spanish-American verse because of the way that Dario figured out how to substitute a muddled graceful refrain of Spanish artists for an improved and expressive structure. In this gathering Ruben Dario unbelievably consolidates the images taken from old scholarly sources with his very own images. A portion of Dario’s images are the swan that symbolizes suggestion and virtue or centaur that typifies both human and creature highlights. In such manner, modernismo relies upon different impacts and scholarly patterns; it figures out how to consolidate indecency and delicacy, reality and fantasy, magnificence and brutality, limits and straightforwardness. Ruben Dario’s modernista verse brings numerous components into Spanish-American verse of the twentieth century. Specifically, in numerous ballads of Blue Dario applies to the topic of idealism, that is, he escapes reality and includes his perusers into the fantasy world. Dario’s idealism is refined and loaded with traditional figments. In light of different logical developments and reason, Dario makes ballads that are firmly associated with nature and interests. Despite the fact that the writer normally portrays such negative sentiments as trouble, disillusionment, apathy and dejection, they are expressive to the point that they bring out amazing feelings. In the sonnet Melancholy Ruben Dario states, “Sibling, you that have light, if it’s not too much trouble give me light/I resemble a visually impaired man. I grab about in obscurity. /I am lost among the whirlwinds, lost among torments, blinded/by dreams, and made distraught my music. /That is my revile. To dream”23. Another component of Dario’s verse that is broadly embraced by all modernista artists is the strain among affection and sexuality. In his later gathering of verse Songs of Life and Hope (1905), Dario raises increasingly significant issues of a man and universe, life and passing, using incongruity and harshness. This is particularly evident in such lyrics as The Fatal Thing and Youth, Divine Treasure. In such manner, Dario and other modernista artists are regularly blamed for moving turmoil in the nation, however as a general rule Dario adds to the production of a specific ideological structure in Spanish-American verse that is firmly associated with culture. Applying to old style implications and social pictures, Dario certainly exhibits his social tastes. In this manner, Jean Franco proposes that “modernismo comes to infer not just an abstract recharging affected by France however a specific commendation of taste”24. In a portion of his idyllic accumulations, including Songs of Life and Hope, Ruben Dario shows his fixation on old style images and the pictures made by Dante in his epic sonnet. Dario is in steady pursuit of consolidating these pictures with the tasteful estimations of modernismo, the verse with the entire universe. In different lyrics Dario, like Lugones, draws a parallel between normal marvels and people’s feelings; for example, in the sonnet Nightfall in the Tropics Dario depicts nature through feelings: “Unpleasant and vibrant ascents/The protest from out the deeps,/And the wave the breeze shocks/Weeps. /Viols there in the midst of the gloaming/Hail the sun that bites the dust,/And the white splash in its frothing/’Misere’ sighs”25. This section uncovers Dario’s investigations with language and structure; and, as indicated by Kirkpatrick, it is in these “tests, incongruities, harshness, and ambiguities, later writers will discover the heritage from which they will develop new wonderful languages”26. In such manner, Leopoldo Lugones gets some modernista components from the verse of Dario, yet he likewise executes numerous new components of modernismo. 5.3. The impact of Leopoldo Lugones on Spanish-American verse In spite of the fact that Leopoldo Lugones’ previous beautiful works are portrayed by the adherence to sentimental beliefs, he bit by bit rejects these components, raising the issues and qualities that are firmly associated with modernismo. Notwithstanding the way that Lugones’ devoted tunes and brief rhyme are not the express highlights of modernismo, his adjustments in topics and the portrayal of specific belief systems through verse exhibit the artist’s significant job in the change of Spanish-American verse of the twentieth century27. As indicated by Kirkpatrick, all the while joining a few sorts and moving starting with one extraordinary then onto the next in his lovely works, “Lugones performs the contention between modernismo’s formalism and the move into the twentieth century’s progressively private feeling of idyllic language”28. Like Dario, Lugones keeps up the possibility of language flawlessness, yet he views language as an instrument that ought to be refined. Lugones thinks about that wonderful language ought to be however much expressive as could reasonably be expected, yet “by guiding thoughtfulness regarding language as a specialized instrument, Lugones starts a cacophonous pattern in present day Spanish-American poetry”29. With the assistance of expressive language Lugones figures out how to join different components in his sonnets, for example, amusing suggestion and the depiction of scene, conversational discourse and unromantic scenes. Lugones takes his pictures from outward things, delineating the changed urban and country view of Spain. At the same time, Lugones’ modernista components mirror his fixation on French artistic idyllic conventions; nonetheless, “Lugones limits the Am>

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